Au 20e siècle en France et en Allemagne, l’art moderne prend son essor. Certains, comme Francastel, qualifient cet art de destruction d’un espace plastique classique. Cette destruction devient un vecteur de création chez plusieurs artistes qui, suite aux deux grandes guerres, remettent en question leur état « civilisé » et se tournent vers le « primitif » pour offrir une autre voie, loin de tout processus civilisateur. Cette admiration pour les peuples primitifs ainsi que pour les productions artistiques d’enfants, d’amateurs et de « fous » est visible chez plusieurs collectionneurs d’art. En constituant des collections d’art marginal, ces derniers défendaient une idéologie qui propose une autre forme de culture en remplacement d’une civilisation dépassée. Grâce à leurs collections, la libre expression se positionna contre le rationalisme occidental. On compte, parmi ces collectionneurs, le psychiatre Hans Prinzhorn, le marchand d’art Wilhelm Udhe et les artistes André Breton, Jean Dubuffet et Arnulf Rainer. Chacun d’eux a eu un impact sur la construction du récit de l’art moderne et de l’art contemporain. Leurs collections ont chacune sa spécificité et offrent des vocabulaires différents pour parler de productions artistiques marginales, c’est-à-dire se développant « hors culture ». C’est par l’analyse des terminologies employées par les collectionneurs, principalement la dénomination d’art pathologique, que nous tracerons un portrait de la construction historique de l’art marginal en lien avec l’art moderne / Modern art began its rise at the beginning of the twentieth century in both France and Germany. Somme art theorists like Francastel, propose an identifying characteristic of modern art is the deconstruction of the classic plastic space. During the two World Wars, many artists used this deconstructive process, thus reinvigorating art with ‘‘primitive’’ styles which challenged the ‘‘civilized’’ art of the day. This fascination with the ‘‘primitive’’, including art from children, amateurs, and the ‘‘mentally ill’’, is apparent in many art collections of the time. By collecting these forms of art, the collectors were supporting this new ideology in opposition to occidental rationalism. The psychiatrist Hans Prinzhorn, along with the art sellers Wilhelm Udhe and the artists Andre Breton, Jean Dubuffet and Arnulf Rainer, are a few of the notable collectors. They each influenced the progress of Modern Art; the impact of which is now evident in contemporary art. The individuality of their unique collections offers different interpretations of the marginalized ‘‘outsider art’’. By analyzing the terminologies employed by these collectors, particularly in regards to ‘‘pathological art’’, we may outline a portrait of the development of ‘‘outsider art’’ as it progressed along side modern art.

Denne oppgaven omhandler kunstsjangeren Outsider Art i norsk kontekst, med særlig fokus på kunsten som ble laget av elevene ved skolen på den nord-norske sentralinstitusjonen Trastad Gård. Skolen og kunstnerne blir stilt opp mot rådende teorier innenfor sjangeren for å få svar på spørsmålet: Kan kunsten fra Trastad Gård defineres som Outsider Art? / This paper deals with the art genre Outsider Art in a Norwegian context, with particular focus on the art that was created by students at the school at Trastad Gård (Trastad Gård was the main Northern Norwegian institution for people with mental disabilities). The school and the artists are examined against the prevailing theories in the genre to answer the question: Can art from Trastad Gård be defined as Outsider Art?

Universiẗat, Diss.--St. Gallen, 2000.

Depuis les années 1930, un lent processus d’« artification » investit des lieux de vieembellis par leurs propres habitants avec des techniques improvisées. Considérés àl’origine comme des curiosités locales, ces sites sont révélés au monde de l’art par lessurréalistes, qui amorcent leur documentation. Dans l’après-guerre, ils connaissent uneréception de plus en plus enthousiaste au sein de certains milieux artistiques et serontannexés successivement à l’art médiumnique, à l’art naïf, à l’art brut, à l’outsider art, àl’architecture fantastique, entre autres, donnant lieu à une pléthore de définitions. Cesenvironnements irréguliers seront alors considérés souvent comme l’expressionspontanée d’impulsions intérieures, sans influences ni tradition. Cette thèse propose derevenir aux origines de cette forme artistique, en révélant le mouvement circulaire qui larelie, d’une part, aux cultures populaires et, d’autre part, aux courants officiels del’histoire de l’art contemporaine. Elle examine également les conditions de sa réceptions,dans un contexte dominé jusque dans les années 1970 par le paradigme primitiviste,avant de se concentrer sur la multiplication des initiatives qui, depuis la fin des années1970, marquent un renouvellement du regard. Tout au long, les environnementsirréguliers sont questionnés dans leur faculté à associer des notions fondamentales –art, culture, marginalité, architecture, grotesque, baroque, ornemental, entre autres – età être saisis comme un outil opératoire désignant une forme d’authenticité artistique ouculturelle. / Since the 1930s, a slow process of « artification » invested living spaces decorated bytheir own inhabitants with improvised techniques. Originally regarded as localcuriosities, these sites have been introduced to the artistic world by the Surrealists, whobegan their documentation. In the post war period, they have been seen with increasingenthusiasm in some artistic circles and then have been linked to mediumistic art, naiveart, art brut, outsider art, fantastic architecture, among others, creating a plethora ofdefinitions. Irregular environments have often been considered as the spontaneousexpression of inner impulses, without influence or tradition. This thesis proposes toreturn to the origins of this form of art, revealing the circular movement that connects it,on one hand, to the popular cultures and, on the other hand, to the officials movementsof the history of contemporary art. It also examines the conditions of its own reception,in a context dominated until the 1970s by the primitivist paradigm, before of focusing onthe many initiatives that, since the late 1970s, brought a renewed look. All along,irregular environments have been questioned in their ability to combine fundamentalconcepts - art, architecture, culture, marginality, ornamental, among others - and to betaken as an operational tool for a form of artistic or cultural authenticity.

Cette thèse porte sur la quête de l’identité narrative dans quatre récits : Le premier homme d’Albert Camus, Les Oliviers de la justice de Jean Pélégri, Ébauche du père de Jean Sénac et Outremer de Morgan Sportes. Les auteurs de ces récits ont appartenu à la communauté des Français d’Algérie et, par la suite, à celle des pieds-noirs. Les textes portent, en majeure partie, sur la fin de l’Algérie française. Ceci explique la référence, entre autres périodes, aux années 1954-1962 et aux conséquences dramatiques qui en ont découlé, tels que l’exil et le déracinement. La désignation « Algérie française » contient en elle-même une double référence identitaire, quand elle ne renvoie pas à une pluralité de composantes. Définir ou formuler son identité pose, dans le cas de nos auteurs, une réelle difficulté, qui s’accentue lorsque les origines sont ambiguës. C’est ce que nous avons essayé d’étudier, à travers notamment l’énonciation et la mise en place de l’interlocution, étant donné que le questionnement sur soi est une interrogation adressée par un locuteur à un tiers. Il s’agit, en outre, de mettre en évidence les notions d’altérité et du regard de l’autre, et leur rôle dans la constitution de soi ou de la revendication d’une quelconque identité, car la quête s’organise autour de la relation avec cet autre. Ce travail montre que s’il n’y a pas de réponses claires et suffisantes aux interrogations premières des narrateurs, la recherche d’une identité est un parcours qui aboutit à la construction d’une vérité sur soi donnant sens à l’existence. / This dissertation deals with the quest for narrative identity in four distinct narratives: Le Premier Homme, by Albert Camus; Les Oliviers de la justice, by Jean Pélégri; Ébauche du père, by Jean Sénac; and Outremer, by Morgan Sportes. The authors of these narratives belonged to the community of French people born in Algeria and, later on, to that of the pieds-noirs. The texts examine mainly the end of French Algeria. This accounts for the reference to the years 1954-1962, among other periods of time, and to the tragic consequences these years led to, including exile and uprooting. The designation “French Algeria” in itself contains at least a dual reference to identity, if not referring to a plurality of components. For each of the four authors considered, defining or expressing their identity creates a real difficulty, which increases when origins are ambiguous. This is what I have attempted to explore, notably through the enunciation and interlocution process, as questions about oneself are questions articulated by one person to a third party. Beyond this, my aim is to highlight the concepts of otherness and of the way one is seen by another person, as well as the role they play in the constitution of the self or in the construction of a claim about any identity, for the quest is organized around the relation to this other. This work shows that while there are no clear or satisfying answers to the initial interrogations of the narrators the search for identity is a journey that leads to the construction of a truth about oneself which imparts meaning to one’s existence.

The contemporary flâneur is confronted with a radically different world in comparison to the Parisian arcades of the nineteenth century during which the idea of the flâneur was conceptualised. The current urban milieu of the flâneur is dominated by consumerism, computer systems and surveillance, and the research posed here explores the flâneur within this environment. The flâneur was originally visualised on the streets and arcades of the city; however, cities do not only exist as buildings and streets and have become global entities that are constituted from the physical and the virtual. Throughout this study reference is primarily made to the work of Francis Alÿs to elucidate theoretical concepts. This study proposes that there is an absence of the teleological goal in the journey of the flâneur and as such, the flâneur wanders the streets without aim; however, in the process creates narratives and leaves traces of his journey. The ubiquity of surveillance in the contemporary metropolis complicates the flâneur's relationship with the latter. Consequently the impact of surveillance on the flâneur and the flâneur's daily wanderings are examined to ascertain its influence on the flâneur in a hyperreal society. In contemporary thinking, the traditional idea of the male flâneur requires reassessment and this research investigates the possibility of the female flâneur and women's presence in the public spaces of the city and the virtual realm of cyberspace. Furthermore, women are intricately linked to consumerism and their experience and position in the city are influenced by being seen as objects of the gaze. / Dissertation (MA)--University of Pretoria, 2011. / Visual Arts / unrestricted

El objetivo principal del estudio es analizar la construcción de la marca de outsider del candidato a la presidencia del Perú Julio Guzmán como estrategia para consolidar la imagen de un líder político. Los líderes políticos deben tener en cuenta que la imagen personal no solo transmite mensajes, sino que también influye en las emociones del público. Este artículo se propone explicar la importancia de la creación de una marca como una estrategia dentro de los escenarios de la comunicación política. Asimismo, la presente investigación resalta el valor de la marca personal de un líder político y demuestra que ésta puede generar una identificación con el público, siendo capaz de transmitir ideas y emociones que ayudan a influir en el electorado. Con ayuda de un análisis cualitativo esta investigación se propuso demostrar la existencia de una relación entre la marca personal de outsider creada por Julio Guzmán y su plan comunicacional a través de la comunicación no verbal a la hora de transmitir su mensaje político. / The main objective of the study is to analyze the construction of the brand outside the candidate for the presidency of Peru Julio Guzmán as a strategy to consolidate the image of a political leader. Political leaders must keep in mind that the personal image not only transmits messages, but also influences the emotions of the public. This article aims to explain the importance of creating a brand as a strategy within the scenarios of political communication. Likewise, this research highlights the value of the personal brand of a political leader and demonstrates that it can generate an identification with the public, being able to convey ideas and emotions that help influence the electorate. With the help of a qualitative analysis, this research aimed to demonstrate the existence of a relationship between the personal brand outside created by Julio Guzmán and his communication plan through non-verbal communication when transmitting his political message. / Tesis

The purpose of this examination paper is to get an understanding as an upcoming teacher about how friends make an important impact on children’s identity development in school, their choice of friends circle and what kind of groups there can occur among them. With a deeper comprehension of these circumstances should an educationalist be more considerate and adapt his or hers education to prevent negative group formations and to be an outsider. To achieve my results I used a qualitative research method where I through observation handpicked eight students from upper level of compulsory school with different friend circles from two classes for further interviews. Beside this I observed students in their school environment for three days. My conclusion by this research is that, the society, the school and the home are three very important factors that make big impact on children’s identity development. Even friendship has an important role on their development. Children choose their friends though common interest which can lead to group formations where negative group formations can occur.

Salvation-themed art environments are a roadside rarity, built out of a strong visionary dedication to God, but the sites are disappearing simply because the work is misunderstood. The historiography on the subject is sparse, trending more toward coffee table books with big glossy pictures than real scholarly endeavors, but the consensus among all has been clear. The sites are a valuable part of the recent American cultural landscape, crossing several scholarly fields - art, architecture, and history - and uniting them into a cohesive preservation movement. On a series of trips to visit, see, and experience five of these sites, I began to understand the massive scale that each site required to assemble and exactly what it would take to restore and preserve each site. The preservation goal is not small, but it is not unattainable. There are federal grants, nonprofit groups and localized support committees from which to gather support so that the site may continue to be a piece of history.

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